{"id":252,"date":"2022-05-24T22:26:45","date_gmt":"2022-05-24T22:26:45","guid":{"rendered":"https:\/\/ensemble-correspondances.lacooperativedesinternets.fr\/?post_type=program&#038;p=252"},"modified":"2023-03-14T17:49:02","modified_gmt":"2023-03-14T16:49:02","slug":"messe-de-minuit-2","status":"publish","type":"program","link":"https:\/\/www.ensemblecorrespondances.com\/en\/programs\/messe-de-minuit-2\/","title":{"rendered":"Messe de Minuit"},"content":{"rendered":"\n<h3 class=\"has-text-align-center wp-block-heading\">Marc-Antoine Charpentier<\/h3>\n\n\n\n<p class=\"has-text-align-center\">If Charpentier found his way back to posterity with the first notes of his Te Deum H.146, chosen to illustrate the credits of the Eurovision programs in the 1950s, the Messe de Minuit is probably the second work that has made him known throughout the world. It is an invitation to immerse oneself in a musical world where scholarly and popular traditions are not opposed, on the contrary: all of Charpentier&#8217;s art and science are illustrated in this invitation of these carols within a mass composed for Christmas Eve. These melodies are known to all, peasants as well as gentlemen, who recognize them, interwoven within a subtle counterpoint and a renewed harmony. The pleasure of music is offered to everyone: to recognize a known tune, or to grasp its extraordinary arrangement. The simplicity of the original songs also gives the whole mass a candor and simplicity that is not without depth when one thinks that it spoke universally at the time.<\/p>\n\n\n\n<p class=\"has-text-align-center\">In nativitatem H.416 serves as a vigil before midnight mass: in the manner of Charpentier&#8217;s great sacred stories, the work recounts the story of the Nativity where the Angel Gabriel announces to the shepherds the great news of Christ&#8217;s birth.<\/p>\n\n\n\n<h3 class=\"has-text-align-center wp-block-heading\"><strong>PROGRAM<\/strong><\/h3>\n\n\n\n<p class=\"has-text-align-center\"><strong>Marc-Antoine Charpentier<\/strong><br>Sub tuum praesidium<br>Or nous dites Marie<br>Quam gloriosa dicta sunt de te<br>In nativitatem<br>Nuit<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>S\u00e9bastien de Brossard<\/strong><br>O Miraculum !<\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong>Marc-Antoine Charpentier<\/strong><br>Messe de Minuit<br>Joseph est bien mari\u00e9<br>Alma redemptoris<br>Laissez pa\u00eetre vos b\u00eates<br>Te Deum<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Marc-Antoine Charpentier If Charpentier found his way back to posterity with the first notes of his Te Deum H.146, chosen to illustrate the credits of the Eurovision programs in the 1950s, the Messe de Minuit is probably the second work that has made him known throughout the world. It is an invitation to immerse oneself [&hellip;]<\/p>\n","protected":false},"author":5,"featured_media":1091,"template":"","program_cat":[16],"class_list":["post-252","program","type-program","status-publish","has-post-thumbnail","hentry","program_cat-in-concert"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/program\/252","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/program"}],"about":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/types\/program"}],"author":[{"embeddable":true,"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/users\/5"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/media\/1091"}],"wp:attachment":[{"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/media?parent=252"}],"wp:term":[{"taxonomy":"program_cat","embeddable":true,"href":"https:\/\/www.ensemblecorrespondances.com\/en\/wp-json\/wp\/v2\/program_cat?post=252"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}